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Polonya ulusal yapımı olan ve Leh asıllı göçmen auteur yönetmenlerin kadın oyuncuların ana karakter olduğu sanat-korku filmleri bu tez çalışmasında psikanalitik incelemelerde öznellik oluşumunda sınır işleyişin önemine dikkat çeken Julia Kristeva’nın abject/abjection kavramının açtığı yoldan Barbara Creed’in ‘canavarsı-dişi’ (monstrous-feminine) önermesi aracılığıyla ele alınmaktadır. Bu çalışma kapsamında yapılan film incelemelerinde ‘canavarsı-dişi’ olgusu, sınır-kişilik bozukluğunu (borderline), “dişi vampirliği”, “dişi cadılığı”, “insan-hayvan hibrit beden olarak dişi”yi, “kötü güçler tarafından ele geçirilmiş dişi bedeni” ve “kastratör olarak dişi”yi kapsayacak şekilde kullanılmıştır.Ulusal ve ulusötesi bağlamda Polonya sanat-korku sineması, auteur yönetmenlerin kişisel estetik kavrayışlarını önceleyen görüntü düzenlemeleri, karakter, mekân ve ses kurgusu odağa alındığında canavarlaştırmada iğrendirici imgelemin yapılarıyla birlikte cinsiyetin önemini öne çıkaran ‘canavarsı-dişi’ ile birlikte düşünüldüğünde verimli bir kültürel malzeme sunmaktadır. Psikanaliz, felsefe ve kültürel çalışmalar alanlarıyla bağ kuran bu çalışma, ulusal ve ulusötesi bağlamda Polonya sanat-korku sinemasındaki toplumsal cinsiyet, ideoloji, arzu ve bakış (gaze) ile oluşturulan imgelem ürünleri arasındaki ilişkiler ağına eğilmiştir. Çalışma kapsamında auteur üretim pratiği ile düşünülmesi gereken aidiyet ve iktidar örüntüleri de tartışmaya açılmıştır. Ayrıca popüler sinemanın önemli bir türü olan korku sinemasının Demir Perde döneminde Polonya ulusal yapımlarında gelişememesinin nedenlerine, bu dönemde çekilen az sayıdaki korku filmlerinin özetlerine ve söz konusu filmlerde kadın karakterlerin kurgulanma biçimine de yer verilmiştir. Esas olarak bu çalışmada anlatının kadın karakterin ekseninde şekillendiği Meleklerin Rahibesi Joan (Mother Joan of the Angels, 1961), Tiksinti (Repulsion, 1965) ve Saplantı (Possession, 1981) filmleri detaylı olarak değerlendirilmiştir. Sanat-korku alt türünün uylaşımlarını da içeren söz konusu filmlerde kadın karakterlerin canavarlaştırılarak ve canavarın etkisi altında kalan olarak sunulma ısrarı auteur yönetmenlerin film üretme sürecindeki ve filmin ardındaki “göz” olarak konumları dikkate alınarak temel olarak abject/abjection kavramı ve dilin edinilmesi ve öznellik işleyişinde abject/abjection ile birlikte düşünmeye elverişli ‘tekinsiz’ (uncanny), ‘doppelgänger’, ‘bastırılanın geri dönüşü’ (return of the repressed) ve ‘deri-ben’ (skin-ego) kavramlarının kuramsal desteğiyle analiz edilmiştir. Elde edilen bulgular erkek karakterlerin “dehşet” saçan kadın karakter karşısındaki mağdur konumlarının ve söylemlerinin bulunduğuna; kameranın bakışının (çekim ölçekleri ve kamera hareketleri), mekân ve ses kurgusunun da bu mağduriyete uygun zemini hazırladığına yönelik olmuştur. Art-horror movies by Polish-origin immigrant auteur directors, which are Polish national productions and female actors are the main characters, are discussed in this thesis study with the 'monstrous-feminine' thesis by Barbara Creed through the path opened by Julia Kristeva's concept of abject/abjection which draws attention to the importance of border functioning in the formation of subjectivity in psychoanalytic studies. The film reviews performed within the scope of this study used the 'monstrous-feminine' phenomenon to cover borderline, 'female vampirism', 'female witchcraft', 'female as human-animal hybrid body', 'female body possessed by evil forces' and 'female as castrator’.From national and transnational context, Polish art-horror cinema presents a productive cultural material when taken together with the 'monstrous-feminine' thesis emphasizing the importance of gender along with the structures of disgusting imagination in dehumanization with a focus on image arrangements, character, space and sound editing that prioritize the personal aesthetic understanding of the auteur directors. This study, which connects with the fields of psychoanalysis, philosophy and cultural studies, concentrated on the network of relations between the products of imagination created with gender, ideology, desire and gaze in Polish art-horror cinema from national and transnational context. The study also led to the discussion of the patterns of belonging and power that should be considered with the practice of auteur production. In addition, the reasons why the popular entertainment genre, the horror cinema, could not develop in Polish national productions during the Iron Curtain period, the synopses of the few horror films shot in this period and how the female characters were fictionalized in these films were also included. The movies such as Mother Joan of the Angels (1961), Repulsion (1965) and Possession (1981) in which the narrative is mainly centered on the female character were evaluated in detail. In these films including the conventions of the art-horror sub-genre, considering the position of auteur directors as the 'eye' in the film production process and behind the film, insistence on portraying female characters as dehumanized and under the influence of the monster were analyzed with the theoretical support of the concepts of 'uncanny', 'doppelgänger', 'return of the repressed' and 'skin-ego', which are suitable for thinking together with basically the concept of abject/abjection and the acquisition of language and the functioning of subjectivity with abject/abjection. The findings have demonstrated that the male characters have victim positions and discourses against the 'terrifying' female character, and that the camera's gaze (shot scales and camera movements), space and sound editing also provide a basis for this victimization.

Agriculture is a major source of excess nitrogen inputs into the environment. In Germany's Weser Ems region, the extreme concentration of intensive livestock farming translates recent improvements in nitrogen regulation into a ‘slurry problem’ that makes manure disposal services increasingly vital for the beneficiaries of an agroeconomic production system based on ongoing intensification and externalisation. The paper uses ethnographic research to focus on the material politics of different sociomaterial assemblages of slurry. It shows how manure export and new technologies to materially transform slurry both facilitate a further integration of livestock farming by intermediaries such as nutrient brokers and feedstuff producers. As slurry is mobilised and transformed, the material politics of slurry hinges upon shifting material properties and ontological struggles that position slurry along a continuum between nutritious natural fertiliser and abject organic waste. While slurry export to arable regions is problematically framed as a circular economy approach, the aim to transform slurry instead of transforming the unsustainable agroeconomic structure is embodied in hopes set upon ‘full processing’ of slurry into products akin to mineral fertilisers. The disposal of excess slurry eventually depends on both material and ontological transformations. Emerging protest against central manure processing facilities shows that slurry and its odour make intensive livestock farming a material and ‘sensible’ presence that can be acted upon politically. Embodied reactions and abjections related to this material agency of slurry can potentially bridge everyday practice and structural questions of socioecological wellbeing and justice in a more-than-human world. Version of record

This article details the deconstruction of social identity in Mark Gevisser's memoir Lost and Found in Johannesburg. It does so by emphasising how the city's design reflects racial and sexual segregation through the construction of borders and boundaries that are nonetheless nebulous and artificial. In Gevisser's memoir, his recollections are interspersed with the narratives of other marginalised individuals and groups. I employ Julia Kristeva's theory of abjection to understand how systems of exclusion function not only to exclude, but paradoxically, how they allow spaces of inclusion. I argue that the apartheid city can be read as a social body that can be analysed in a similar manner to how the individual subject distinguishes itself from others. The social body therefore creates subjective boundaries between racialised and sexualised others to maintain its sense of autonomy.

Resumen: Este artículo estudia uno de los cuentos más importantes de Pablo Palacio, «El antropófago». Según la hipótesis de investigación, en este relato se muestra cómo los seres humanos están sujetos a determinados deseos inconscientes que socialmente no son aceptados. Dichos deseos se reprimen durante un tiempo, pero pueden retornar de una manera inesperada y violenta. Por lo tanto, se analizará este relato empleando categorías como la antropofagia, la abyección y la perversión. Abstract: This article studies one of the most important short stories of Pablo Palacio: «El antropófago». According to the research hypothesis, Palacio’s short story shows how human beings are subject to certain unconscious desires that are not socially accepted. These desires are suppressed for some time, but can return in an unexpected and violent way. Therefore, the aim is to analyze «El antropófago», by using categories such as anthropophagy, abjection, and perversion.

Dalit women's bodies are often regarded as the site of disgust, impurity, and oppression. Dalit women are abjected into an inflexible position and their differentiated bodies are perpetually marked as the other. Dalit women's bodies are stripped of moral claims and had been treated as sexual slaves, which indicates the heightening of their abjection, as a major mode of social exclusion. Aleena's characters in her poetry collection Silk Root are mostly ghosts, demons, vampires, mentally ill etc. Just as these figures are alienated and excluded by the dominant social structure, so are the Dalits. Julia Kristeva’s theory of ‘abjection’ is useful in our understanding of the deplorable state of Dalit women. Dalit women’s subjectivity is tossed into a space of abjection which ratifies a two-fold existence of fear and desire. Just as the subject rejects the abject, the society reject the Dalits that threatens its stability. Dark skin, Dalit identity and female sexuality constitutes the abjectification of Dalit women. The article “Articulating the Abject: Horror as a subversive tool in the poems of Aleena’s Silk Root” do a psychoanalytic study of the characters of selected poems of Aleena’ poetry collection Silk Root through Julia Kristeva’s abjection theory.

This thesis offers an original examination of the affective relations between bodies, clothing, and space by examining women’s experiences and feelings towards their breasts and wearing a bra in public. Exploring participants' contained and uncontained experiences with their breasts provided an opportunity to interrogate how heteropatriarchy requires a fashioning or containing of both feelings and flesh in public. Drawing on feminist and queer methodologies including ‘dirty participation’ and autoethnography, I report on insights gathered from twelve walking interviews conducted in Edmonton in the summer of 2019. Walking interviews included participants navigating their everyday geographies twice: once while wearing a bra and another while bra-less. These interviews demonstrate how social discourse on breast containment shapes women’s embodied experiences and their engagement with their bras. Utilizing the bra as an object of study, I offer an analysis of the corporeographies of how wearing—and not wearing—a bra impacts women’s spatial experiences. Findings include that participants differentiated between physical, social, and psychological comfort in relation to bralessness, using a range of strategies to navigate daily trade-offs between these categories. The concept of abjection provided a useful lens for interpreting participants’ experiences of feeling vulnerable and out of place. Finally, I propose some preliminary features of a ‘braless geography’ based on women’s feelings of (dis)comfort, safety and vulnerability in a range of urban spaces (e.g. particular neighbourhoods) and specific locales (e.g. bars, hair salons). This research affirms that the bra acts as a potent social and physical force in shaping and containing bodies spatially, socially, and psychologically.

El artículo estudia dos fenómenos distintos pero interrelacionados: por un lado, las metáforas de la desaparición del yo, y, por otro, el mecanismo de la desaparición de la metáfora o de los sentidos metafóricos en la representación de procesos como la desaparición del yo o la abyección del yo. El marco teórico viene fundamentalmente de Kristeva, Blanchot, Agamben, Derrida y Mitchell, y de las teorías de los «inmirable». Los cómics estudiados son Maus y MetaMaus, de Spiegelman; La ciudad ausente, de Scafati y de Santis; Parallel Lives y Arsène Schrauwen, de Olivier Schrauwen, y Body World y New School, de Dash Shaw., The present article studies two different but interconnected phenomena—firstly, metaphors of the disappearance of the self, and, secondly, the mechanism of disappearance of metaphors or of metaphorical meanings in the representation of processes like the disappearance of the self or the abjection of the self. The theoretical frame is provided fundamentally by Kristeva, Blanchot, Agamben, Derrida, and Mitchell, as well as by theories of the unwatchable, while examples are drawn from Spiegelman’s Maus and MetaMaus, Scafati’s and de Santis’s La ciudad ausente, Olivier Schrauwen’s Parallel Lives and Arsène Schrauwen, and Dash Shaw’s Body World and New School.

T. S. Eliot’s monumental poem, The Waste Land, discusses hopelessness and desolation and shuns them at every turn. The speakers spurn it and despair at the desolate state of humankind and society. This paper aims to read T. S. Eliot’s The Waste Land in light of Julia Kristeva’s theory of abjection and Jacques Lacan’s notion of jouissance. The main claim is that despite the apparent horror of desolation, the more the poem tries to repel desolation, the more it cannot help but repeatedly allude to it, as if unwillingly drawn to it, so that death and desolation are not the subject, nor are they the object, but rather the abject of the poem. The sections of the poem I feel are most relevant for such an analysis are “The Burial of the Dead” (lines 1-30) and “What the Thunder Said” (lines 322-375).

Este estudio presenta una lectura de la obra Los ejércitos, del escritor colombiano Evelio José Rosero Diago. Mediante una exploración de aspectos sociales y lingüísticos y un estudio retórico, se busca explorar la obra del autor y situarla en el panorama discursivo contemporáneo. La existencia de una poética de la violencia mediante la cual Rosero busca significar el fenómeno social de la violencia constituye la forma en la que el autor se inserta en el campo literario colombiano. En primer lugar, se aclaran aspectos relativos a la naturaleza social del material verbal empleado por el autor. Se revisan algunos de los problemas y tendencias comunes en la representación de la violencia en Colombia en términos de la construcción ideológica del discurso en los niveles lexical, semántico y sintáctico. A partir de esto se discuten una serie de variedades estilísticas que dan forma al discurso literario en la obra del autor y se presentan algunas constantes de su obra que permiten pensar con mayor claridad el proyecto estético de Rosero. Es texto busca ser una referencia para análisis discursivos que incluyan el significante 'violencia'. (Texto tomado de la fuente). The following study presents an analysis of Los ejércitos [The armies], by the Colombian narrator Evelio José Rosero Diago. Through the exploration of social aspects presented in the linguistic reality of the text and a rhetoric study, I sought to analyze and place the work in the discursive picture of Colombian contemporary writing. The existence of a poetics of violence that serves Rosero to signify a social phenomenon that constitutes the way in which the author places himself in Colombian literary context. The way of proceeding covered first; an account of the socially relevant discourses that appear in the form of material to be used by the writer. Some of the most commons problems and trends in contemporary writing of violence from different perspectives. Then, through these, the specific stylistic varieties of the author are queried and a study seeking to reveal his poetic is presented. The study’s goal is to become a reference for studies on the uses of the category of violence in literary analysis. Maestría Magíster en Estudios Literarios Lectura interdisciplinar y sociocrítica de las fuentes discursivas de la novela del autor colombiano Evelio José Rosero. tras definir siginificantes lingüísticos e históricos de relevancia para localizar la novela, mediante un análisis retórico describí y analicé la poética del autor en algunas de sus últimas novelas, particularmente en Los ejércitos.

Humans are evolutionary adaptations of other biological organisms. However, socio-cultural adaptations associated with the Neolithic Agricultural Revolution, the rise of monotheism, and the Scientific Revolution, have contributed to a radical ontological separation of the human from the nonhuman. This false binary opposition facilitates humanity’s destructive behaviour towards nonhuman components of our biosphere, threatening the existence of our species. This article explores the historical development of artistic texts that demonstrate anxieties about transgressing borders between the human and the nonhuman. These texts use repeated narrative and thematic topoi that are adapted to reflect historical attitudes towards human/nonhuman borders. Palaeolithic culture produced art which demonstrated a lack of borders between the human and the nonhuman, but following the Agricultural Revolution, ecophobic cultures produced fictional narratives warning about the monstrous consequences of transgressing human/nonhuman borders. The article traces these ecophobic borders from the polytheistic ‘Pygmalion’ narrative, through the monotheistic/scientific Frankenstein narrative, to contemporary films about human/nonhuman borders such as The Terminator and Toy Story. Les humains sont des adaptations évolutives d'autres organismes biologiques. Cependant, les mutations socioculturelles associées à la révolution agricole néolithique, à la montée du monothéisme et à la révolution scientifique ont contribué à une séparation ontologique radicale entre l'humain et le non-humain. Cette fausse opposition binaire facilite le comportement destructeur de l'humanité envers les composantes non humaines de notre biosphère, menaçant l'existence de notre espèce. Cet article explore le développement historique de textes artistiques qui témoignent de l'anxiété liée à la transgression des frontières entre l'humain et le non-humain. Ces textes utilisent des topoï narratifs et thématiques récurrents qui sont adaptés pour refléter les attitudes historiques envers les frontières entre l'humain et le non-humain. La culture paléolithique a produit un art qui démontrait l'absence de frontières entre l'humain et le non-humain, mais ensuite la révolution agricole, les cultures écophobes ont produit des récits de fiction mettant en garde contre les conséquences monstrueuses de la transgression des frontières entre humain et non-humain. L'article retrace ces frontières écophobes depuis le récit polythéiste de Pygmalion jusqu'aux films contemporains sur les frontières entre humains et non-humains tels que Terminator et Toy Story, en passant par le récit monothéiste/scientifique de Frankenstein,.

Trabajo de fin de Grado. Grado en Filología Hispánica. Curso académico 2021-2022, El autor estadounidense John Limon en su libro Stand-up comedy in theory or abjection in America sitúa en la base del nacimiento del stand-up americano la abyección. Este tipo de comedia llega a España a finales de los años noventa importado de Estados Unidos y su mayor exponente en esta primera etapa fue El club de la comedia. A lo largo de este ensayo se explorará si esta abyección también se traspasó al importar la forma artística o si por el contrario se perdió por el camino. Para ello tomaremos como muestra el libro recopilatorio El club de la comedia: ventajas de ser un incompetente y otros monólogos de humor publicado en 2001. El libro incluye los textos más populares de esta primera etapa del programa., The american autor John Limon in his book Stand-up comedy in theory or abjection in America puts abjection as the foundational block in the creation of stand-up comedy. This type of comedy comes to Spain imported from EEUU in the late nineties with its biggest example being El club de la comedia. In this essay we will explore if the abjection was also present there or if it got lost in translation. We are going to use the book El club de la comedia: ventajas de ser un incompetente y otros monólogos de humor, published in 2001, as our sample. The book contains the most popular texts from the first season of the tv-show.

Ce mémoire en recherche-création explore les différentes stratégies scripturales par lesquelles la violence au féminin s'inscrit dans la littérature. La partie « création » de ce mémoire se compose de poèmes féministes qui mettent en scène la violence à travers un chœur de voix féminines et hétérodoxes. Le recueil de poèmes est un hommage à plusieurs auteures féministes, afin de l'inscrire dans une filiation. Ils sont marqués par un ton manifestaire inhérent à la communauté sororale qui émerge de l'écriture. Les voix qui portent la création sont incarnées dans des corps grotesques, permettant de déstabiliser la notion hétéronormative du genre féminin. Les poèmes sont travaillés à la manière du fanzine : ils se situent en marge de l'institution littéraire de par la volonté de transgression qui en émane grâce aux procédés typographiques et langagiers. Ce sont des poèmes de l'oralité qui ont été conçus pour être dits, hurlés, beuglés. Les textes mettent en place une poétique de la guérilla et du terrorisme au féminin, où les bombes langagières ne laisseront personne tranquille. Fondée sur la manière dont la violence se déploie dans l'écriture de Josée Yvon, la partie « recherche » de ce mémoire s'intéresse à l'émergence d'un féminin construit hors des cadres hégémoniques à travers la colère, l'abject et la parole injurieuse. Dans Filles-commandos bandées (1976) et Travesties-kamikaze (1980), l'écrivaine donne à entendre les cris et les aboiements des « filles », qui par la rage, s'unissent d'une seule voix pour entreprendre une véritable révolte contre l'ordre établi. Afin que leur insurrection soit possible, l'auteure massacre la langue par divers procédés discursifs, façonnant ainsi une poétique fondée sur l'excès. Pour que cette langue châtiée puisse s'incarner dans le texte, elle doit être portée par des corps marqués du sceau de l'abject, au sens où l'entend Julia Kristeva dans Pouvoirs de l'horreur (1980). La mise en spectacle des corps abjects opère une réelle résistance, bouleversant les codes de la représentation. C'est par la réappropriation du discours haineux que les personnages yvoniens pourront investir l'abjection pour construire leur agentivité. Grâce à la « resignification » conceptualisée par Judith Butler (2004), Josée Yvon fait advenir dans le langage patriarcal un sujet féminin qui peut utiliser la parole violente comme lieu d'identification positive. Ce mémoire se penche donc sur la manière dont les « filles » yvoniennes ne sont plus des victimes-objets violentées, mais bien des sujets parlants et violents., This research-creation dissertation explores the different scriptural strategies with which female violence is inscribed in literature. The “creation” part of this dissertation is made up of feminist poems that stage violence through a chorus of female and heterodox voices. The collection of poems is a tribute to several feminist authors, placing creation in a lineage. They are marked by a manifest tone inherent to the sisterhood community that emerges from the writing. The voices carrying the texts come to life in grotesque and sexual bodies, making it possible to destabilize the heteronormative notion of the female gender. The poems are worked in the style of a fanzine: they are located next to the literary institution by the will to transgress which emanates through typographical and photo-literary processes. These are oral poems that were created to spoken, shouted, barked. The texts set up a poetics of guerrilla and feminine terrorism, where language bombs will not leave any reader indifferent. Based on the way in which violence unfolds in Josée Yvon's writing, the “research” part of this dissertation explores the emergence of a femininity constructed outside hegemonic standards through anger, abject and insultable speech. In Filles-commandos bandées (1976) and Travesties-kamikaze (1980), the writer grants a voice to the cries and barks of her “girls”, who in rage, unite as a single voice to undertake a real revolt against the established order. For their insurrection to be possible, she massacres the language by various discursive processes, thus shaping a poetics based on excess. In order for this chastened language to be take shape in the text, it must be worn by bodies marked with the seal of the abject, in the sense that Julia Kristeva understands it in Powers of Horror (1980). The staging of abject and grotesque bodies operates a true resistance, upsetting the codes of representation. It is through the reappropriation of hate speech that the characters will be able to invest abjection to build their agency. Thanks to the “resignification” of Judith Butler (2004), Josée Yvon brings in patriarchal language a female subject who can use violent speech as a place of positive identification. This dissertation therefore examines the way in which Yvon's “girls” are no longer abused victim-objects, but rather loud and violent subjects., Mémoire en recherche-création

“Infancia y muerte” es un poema que Federico García Lorca escribió en 1929 durante su estancia en los Estados Unidos, pero que finalmente no incluyó en el manuscrito de Poeta en Nueva York. El texto, que trata de la pérdida de la infancia, lo dio a conocer en 1978 Rafael Martínez Nadal gracias a su edición de los Autógrafos inéditos del poeta granadino. Este artículo aborda un análisis del citado poema, centrándose en sus símbolos y en el concepto de abyección., “Infancia y muerte” is a poem that Federico García Lorca wrote in 1929 during his stay in the United States, but which was not included in the manuscript of Poeta en Nueva York. The text, which deals with the loss of childhood, was made known in 1978 by Rafael Martínez Nadal, thanks to his edition of the unpublished handwritten manuscripts of the Spanish poet. This paper deals with an analysis of this poem, focusing on its symbols and the notion of abjection., Dossier: Infancia y vejez en la literatura española: cruces, modulaciones, figuras, Facultad de Humanidades y Ciencias de la Educación

Throughout history the agency of social citizenship has resulted in actions that both include and exclude certain individuals and groups through political, economic, and civic interaction. This creates abject spaces of limited rights, inclusion and belonging. Divergent and nested lived experiences of how processes and practices of social citizenship are enacted, embodied, and emplaced necessitate a re-problematizing of the context from the hegemonic view of Canada as a pluralistic liberal multicultural state to one where multiple divergent epistemologies collide in a state of continued settler colonialism. This comparative case study in the Pacific Northwest of what is now called Canada explores how two civil society organizations (CSOs) facilitate or hinder Settler and Indigenous individuals’, groups’, and communities’ agency through social action. CSOs are sites of social action that have the power to create spaces where all citizens have a voice in their own social well-being through participation, partnership, and power sharing. The re-problematizing allows for the exploration of how the reframing of political and civil space impacts interactions and relationships to investigate what these sites tell us about participants’ perceptions and lived experiences of interlocking oppressions, power, and agency in the lived experience of processes and practices of social citizenship.

Neste trabalho, o conceito de abjeto, tal como pensado por Judith Butler a partir da obra de Julia Kristeva, é analisado e aproximado da ideia butleriana de uma distinção existente entre vidas passíveis de enlutamento e vidas não-enlutáveis. Propomos uma compreensão do conceito de abjeto na obra dessas autoras, além de estabelecer uma relação entre a noção de abjeto e a ideia de impureza da antropóloga Mary Douglas. Entendemos que, na obra de Butler, existem aproximações possíveis entre as divisões entre sujeito e abjeto e entre enlutável e não enlutável. Sugerimos que a categoria da inteligibilidade é o operador teórico que atravessa esses dois momentos da obra de Butler. Compreendemos que, por mais que a ênfase da filósofa mude do gênero para a violência contra as vidas, seu interesse principal mantém-se em realizar uma crítica da norma que categoriza algumas vidas e corpos como válidos, enquanto outros pertencem a uma zona de ininteligibilidade, abjetos, cujas vidas não contam. In this paper, the concept of abject, as thought of by Judith Butler based on the works of Julia Kristeva, is analyzed, and compared to the idea by Butler of an existing distinction between grievable and ungrievable lives. The concept of abject in their works is also brought to light in relation to the notion of impurity in the work of anthropologist Mary Douglas. We propose that, in Butler’s theory, there are some similarities to the division between subjects and abjects, and that between grievable and ungrievable. We suggest the category of intelligibility as the element that is present throughout these two moments of her philosophy. Even if Butler’s emphasis has changed, from gender to the violence against life, her main interest remains the critique of the norm that categorizes some lives and bodies as valid, while others seem to belong to a territory of unintelligibility: the abjects, whose lives do not matter.

Submitted by Maria Aparecida (cidazen@gmail.com) on 2022-07-15T14:11:52Z No. of bitstreams: 1 GUSTAVO CHAVES.pdf: 1050526 bytes, checksum: 9f340e3722624521d8538dacbb8d0505 (MD5) Made available in DSpace on 2022-07-15T14:11:52Z (GMT). No. of bitstreams: 1 GUSTAVO CHAVES.pdf: 1050526 bytes, checksum: 9f340e3722624521d8538dacbb8d0505 (MD5) Previous issue date: 2022-01-27 This research supported by the criticism of the philosopher Judith Butler (1956), has the main topic of investigation as: is it possible to resignify the construction of human intelligibility, from an epistemic criticism of sexual assumptions, which were developed by modern occidental epistemologies (structuralists and psychoanalytic)? This research has a qualitative and exploratory approach made through a review of literature. It was methodologically developed with theoretical analysis, deconstructivist theory, and hermeneutics interpretation. To answer this guiding question, the analysis contemplates three interpretative issues: first, to present the ways that gender standards impose their own regulations, which presuppose and reaffirm heterosexual norms as the only way of intelligible access of culture and identity; the second issue is to specify how that system of regulation operates as an act of power historically and socially created, sanctioned and rightfully incorporated to modern epistemologies and, thus, creating a social intelligible field of humans, while it excludes people with diverse sex-genders. Concurrently, that system of sex-gender regulation impress, at psycological level, the internalization of a desire sanctioned by homosexual repudiation; the third issue highlights how that way of access to identity and culture turns the socio psychological acknowledgement of people in disagreement with symbolic standards of intelligibillity as unfeasible and compelling. Another goal is to present the way that the author proposes a theory of subjectivity that problematizes and open spaces for the creation of identities that resist the essentialist concepts of sex-gender-desire and its sexual practices. Lastly, the inextricable relation between identity and abjection in the fight for acknowledgement is put in evidence. Indulging the impossibility of a humanistic project, nowadays, that does not include the difference (différance) as constitutive to identities, under the risk of failing in the construction of an ethics of life that can be lived. Este trabalho tem como problema central investigar, amparado nas críticas da filósofa Judith Butler (1956), se: é possível ressignificar a construção da inteligibilidade humana, a partir de uma crítica epistemológica dos pressupostos sexuais desenvolvidos pelas epistemologias modernas no ocidente (estruturalistas e psicanalíticas)? Trata-se de uma pesquisa de natureza qualitativa, exploratória e de caráter bibliográfico. Desenvolvida, metodologicamente, a partir da análise teórica, abordagem desconstrutivista e interpretação hermenêutica. A fim de responder à questão norteadora, a análise contempla três eixos interpretativos: o primeiro, ocupa-se em demonstrar, de que forma as normas de gênero impõem seu próprio regime regulador, que pressupõe e reitera a norma heterossexual, como única forma de acesso inteligível à cultura e ao identitário; o segundo, ocupa-se em especificar como esse sistema de regulação, opera como um exercício de poder socio historicamente criado, sancionado e legitimamente incorporado às epistemologias modernas, construindo um campo social inteligível do humano, à medida que, exclui pessoas sexo-gênero diversas. Concomitantemente, esse sistema de regulação sexo-gênero, inculca, a nível psíquico, a internalização de um desejo sancionado pelo repúdio homossexual; e terceiro, ocupa-se em ressaltar, como este quadro de acesso à identidade e ao cultural, inviabiliza e constrange o processo de reconhecimento sociopsíquico, de pessoas em discordância aos parâmetros simbólicos de inteligibilidade. Objetiva-se, ainda, demonstrar de que maneira, a autora propõe uma teoria da subjetividade, que problematize e abra brechas para o forjamento de identidades que resistam às concepções essencialistas do sexo-gênero-desejo e suas práticas sexuais. Por fim, evidencia-se a inextrincável relação entre identidade e abjeção na luta por reconhecibilidade. Ensejando-se a impossibilidade de um projeto humanista, na contemporaneidade, que não inclua a diferença (différance) como constitutiva do identitário, sob pena de falharmos na construção de uma ética da vida vivível.

The iconoclastic work of the filmmaker Lionel Soukaz takes in all the abject expressions of the homosexual body, ejaculation and excretion included. His outrageous cinema puts today’s pseudo-tolerance into perspective, especially when we realise the extent to which exposing organs to the camera remains disturbing. Playing with representations as an outlet and a performance, the artist attempts to exteriorize and reflect gay sexuality as both a life form and a revolutionary practice. His films focus on the transgression of public-private standards, as well as norms of propriety in the depiction of representation. His creative process: cinema as a way to exit oneself, to somehow connect with the other, cinema as a revolutionary gesture. At stake is the ontological status of filmmaking as the purest form of abjection.

L’œuvre iconoclaste du cinéaste Lionel Soukaz embrasse du regard toutes les expressions abjectes du corps homosexuel telles que l’éjaculation ou l’excrétion. Son cinéma, outrageant, remet en perspective le contexte contemporain de la pseudo-tolérance, surtout quand on constate que l’on s’effarouche encore de l’exposition d’organes mis à nu par la caméra. Par le jeu de la représentation comme exutoire et performance, l’artiste tente donc d’extérioriser et de penser la sexualité gai comme forme de vie et comme pratique révolutionnaire. En effet, ses films focalisent sur la transgression des normes public-privé, de même que celles relatives aux normes de la bienséance dans la mise en scène de la représentation. Son processus créatif : le cinéma comme une sortie de soi, pour entrer en communication avec l’autre, en tant que geste révolutionnaire. Il en va du statut ontologique de la pellicule comme forme purement abjecte.

Την τελευταία δεκαετία, παρατηρείται ένα πρωτοφανές ρεύμα όπου διεθνείς κωμικοί της γενιάς των μιλλένιαλ δημιουργούν, γράφουν και πρωταγωνιστούν στις δικές τους τηλεοπτικές κωμωδίες. Η προσωπική αυτή τάση στην κωμωδία χαίρει αποθεωτικών κριτικών και ενός φανατικού κοινού, απασχολώντας τόσο το δημόσιο λόγο των μέσων ενημέρωσης και επικοινωνίας όσο και τις ίδιες τις πρακτικές της βιομηχανίας της τηλεόρασης. Η διπλωματική αυτή εργασία εξετάζει τον ντόρο γύρω από το σύγχρονο ρεύμα των μισάωρων, μιλλένιαλ τηλεοπτικών κωμωδιών σε συνάρτηση με την καλτ τηλεόραση ευρύτερα. Υπό αυτό το πρίσμα, οι τηλεοπτικές σειρές Fleabag (BBC 1, BBC 3, 2016-2019) και Ramy (Hulu, 2019- ), οι οποίες έχουν γραφτεί και στις οποίες πρωταγωνιστούν οι Phoebe Waller-Bridge και ο Ramy Youssef αντίστοιχα, θα αναλυθούν ως μελέτες περιπτώσεων. Η ποικιλόχρωμη χρήση του όρου ‘καλτ’ τόσο στον καθημερινό λόγο όσο και στο δημόσιο λόγο των ΜΜΕ, καθιστά την ανάλυση της σύγχρονης καλτ τηλεόρασης μία απαιτητική υπόθεση. Ως εκ τούτου, η έρευνα αυτή φιλοδοξεί να εξερευνήσει το γενικό και το ειδικό συγκείμενο, μέσα στο οποίο οι δύο αυτές μελέτες περιπτώσεων συσχετίζονται με το ‘καλτ’ στη σύγχρονη τηλεόραση. Συγκεκριμένα, η εργασία αυτή στηρίζεται στη θεωρία του Matthew Hills πως το ‘καλτ’ είναι, πάνω από όλα, μία σχετική έννοια, η οποία “μπορεί να προσδιοριστεί σε αντιπαράθεση με κάτι που δεν είναι” (2010, σελ. 68), και υποστηρίζει πως, στο πλαίσιο αυτό, τα σύγχρονα τηλεοπτικά παραδείγματα των Fleabag και Ramy σχηματοποιούνται στο φαντασιακό ως το καλτ ‘Άλλο’ της σύγχρονης τηλεόρασης. Αρχικά, η ανάλυση των πρακτικών της βιομηχανίας, των κριτικών και του κοινού υποδηλώνει πως το καλτ αντίκτυπο τους ανακύπτει από συζητήσεις που αφορούν την/τον δημιουργό, τις αφηγήσεις της βιωμένης εμπειρίας, και το είδος της κωμικής γραφής. Στη συνέχεια, η ανάλυση αυτή τοποθετείται στο νοηματικό πλαίσιο του καλτ ‘Άλλου’ βασιζόμενη στη θεωρία της “επιστροφής του δημιουργού” (Kristina Busse, 2013), στη μελέτη και ερμηνεία των αφηγήσεων της καθημερινής ζωής (Sidonie Smith, Julie Watson, 2001), καθώς και σε επιδραστικά άρθρα αναφορικά με τις σύγχρονες γυναίκες δημιουργούς στην κωμωδία και τους Μουσουλμάνους stand-up κωμικούς. H διπλωματική εργασία καταλήγει πως οι κωμωδίες των Fleabag και Ramy σχηματοποιούνται στο φαντασιακό ως η σύγχρονη καλτ τηλεόραση της Βlack Lives Matter, Trump, και μετά-#MeToo εποχής, όπου η ταυτότητα του δημιουργού, οι προσωπικές αφηγήσεις για τη ζωή, καθώς και η κωμική ματιά στην αποκειμενοποίηση και την παράβαση ορίων παρουσιάζονται ως ιδανικά εργαλεία αντίστασης στις κυρίαρχες έμφυλες και φυλετικές αφηγηματικές αναπαραστάσεις, From 2010 onwards, there has been an unprecedented trend of millennial TV comedies, which are created, written by, and starring promising young comedians. This singular comic trend has been populating the industry and the media discourses with unparalleled critical acclaim and a fanatical following. The thesis examines this emerging hip surrounding the half-hour millennial TV comedies under the nexus of cult television. In this regard, Fleabag (BBC 1, BBC 3, 2016-2019) and Ramy (Hulu, 2019- ), which are created, written by, and star Phoebe Waller-Bridge and Ramy Youssef respectively, serve as case studies. However, the variation and universal application of the term ‘cult’ in common usage and in the media render the analysis of contemporary cult TV a rigorous task. The aim of this research is to explore the historically situated context and context-specific notions that situate these two millennial comedies within contemporary cult television. Drawing on Matthew Hill’s theory that cult is, above all, relational and that it “can be defined against something that it is not” (2010, p. 68), the thesis argues that the contemporary examples of Fleabag and Ramy are imagined and/or constructed as the cult ‘Other’ of contemporary television. By charting two separate overviews of the industrial practices, the discourses of television critics, fan activities, and niche online media regarding both case studies, the research suggests that their cult impact surrounds mainly the discourses of authorship, life narrative, and comedy writing. As a result, the thesis discusses and contextualizes these observations within the processes of cult ‘othering’ based on the academic contributions of Kristina Busse’s “return of the author” (2013), Sidonie Smith and Julia Watson’s seminal work on the interpretation of life narratives (2001), and on the influential writings that have addressed the contemporary comic female authorship and the cultural politics of the Muslim stand-up comedy. Finally, it concludes that Fleabag and Ramy are imagined and/or constructed as contemporary cult television of the BLM, Trump, and post #MeToo era, where the authorial identity, the life narratives, and the comic abjection and transgression are the ideal vehicles to resist the dominant culture of gendered and racial representations

This thesis was submitted for the award of Doctor of Philosophy and was awarded by Brunel University London My thesis aims to interrogate Thatcher’s most enduring cultural and literary representations featured in British fiction between 1979 -2020 starting from the premise that they are the result of the heavy gender bias she incurred consistently throughout her time in power and well beyond that. In my analysis, I challenge the belief that Thatcher’s legacy cannot be interpreted via feminist discourses by employing Julia Kristeva’s critique on issues like the abject, phallocentrism and sublimation. Choosing Kristeva for my analysis was motivated by the way she is seen amongst feminists, namely as a conservative feminist for placing motherhood and maternity at the core of her theories and, similar to Thatcher, for viewing identity formation as being directly linked to women’s relation to the maternal. I will analyse the work of some of the most representative authors who focus on exploring Thatcher’s negative (abject) cultural and literary tropes, such as Martin Amis, James Kelman, Doris Lessing, Pat Barker, Michael Dibdin, Jonathan Coe, or Alex Wheatle, amongst others. I will interrogate the ways in which these authors explore the abject effects of Thatcherism on the British society, while authors like Pete Davies, Mark Lawson, Philip Hensher, Alan Hollinghurst and Ian McEwan engage with Thatcher as a character, extending abjectification to her personal attributes. Monsterization connected to Thatcher and her legacy is the main focus of many of the literary works published after her death. I will explore this facet of the abject in novels such as High Dive by Jonathan Lee, Machines Like Me by Ian McEwan, Clark Gable and His Plastic Duck by Philip Tew, The Iron Bird by Robert Woodshaw, or The Assassination of Margaret Thatcher by Hilary Mantel. My analysis aims to demonstrate the degree of mystification that affected the Thatcher cult after her political ousting and more so after her death and the way her personal features and attributes dissipated and merged with her ideology. I also challenge the belief that there is a general feeling of hatred for Thatcher and her legacy amongst the artistic and literary milieu that resulted in no moderate or supportive works of fiction. By analysing Hilary Mantel’s An Experiment in Love, Javier Marias’s A Heart so White or Hardiman Scott’s Operation 10 I demonstrate the complexity and diversity of the literary and cultural response to her. I also interrogate a body of work that has received little critical attention in connection to Thatcher and her legacy, namely a selection of novels by Frederick Forsyth. Forsyth offers a different take on Thatcher’s phallic attributes motivated by the author’s longstanding admiration for her abilities and ideology, the author mainly exploring the mythological status she acquired after her Falklands success and beyond that. My project, thus, sets to challenge the perception according to which Thatcher was a woman who denied her womanhood. Rather, I aim to demonstrate that it was the general misconception regarding her role and position as a woman in politics that produced a response of unrivalled intensity.

With some recent, notable exceptions, scholarship on slum communities has focused on adverse living conditions, precarity, ill-heath and poverty. Working against this tendency, the thesis argues that the discursive positioning of slums as a failure of urban planning, fails to take slums on their own terms. Defined as the mere negative of planned urban settlement, the slum can only be positioned as a problem requiring a solution. Yet with a change of perspective, slums could themselves be seen as solutions to the diverse problems encountered by a multitude of citizens. Ethnographic fieldwork in Kollyanpur slum, Dhaka, Bangladesh, involving in-depth interviews and case studies into livelihood strategies of its residents, highlights the diverse opportunities that families have within the slum to form non-traditional economic and personal relations. While adversity was a feature of Kollyanpur, the changing power relations within and between households and the forms of social transformation produced by policy intervention were significant forces in their own right. The ‘diverse economy framework’ pioneered by J-K Gibson-Graham and Ethan Miller’s ‘livelihood triad’ are deployed to theorise the opportunities associated with contemporary slum life, including cheap rent, proximity to work, sense of community and the transformed status of men and women within households and the community. While policy intervention into slum existence may produce measurable improvement in quality of life, slum dwellers remain no less vulnerable to eviction and other forms of precarity. Similarly, insofar as slums become part of the vision of urban planning, they are characteristically deemed to be abject sites redeemable only through urban development. From the point of view of planning authorities, then, the value of slums lies in their potential to be developed in settlements that would conform to the clean and sanitized, visually and spatially orderly, modern city ideal. Given the vulnerability that such forms of intervention and governance can produce, precarity is not simply a function of deprivation endemic to the slum but arises from the failure to recognize the role that slums can play in helping the poor to survive. Instead of finding ways to remove slums from cities, efforts to redress the adverse conditions of slums would do well to recognise the achievements of individuals and communities in slums to develop their capacities for health, social wellbeing and empowerment.

This is an investigation on writing, through writing, with writing, on and in thinking with Julia Kristeva’s theory on abjection. This paper aims to research the subject of abjection as writing and does so by reading the meaning of solitude in the writings of Maurice Blanchot, Marguerite Duras and primarily the work Aqua Viva by Clarice Lispector. This paper wishes to establish a philosophical framework for future research within writing as an artistic practice.

For Kristeva (1982) the abject not only caused visceral disgust but posed a threat to the established order of society. The abject is a product of particular times and places but limited attention has been given to understanding the process of transitioning away from abject status. We address this gap here through an examination of the planning profession in post-apartheid South Africa. The paper examines how the abject is fluid and resilient, evolving to fit a changing planning system and broader political economy where a discourse of abjection by race has been replaced by a focus on poverty.

In May of 1939, DC Comics introduced their popular Batman series, but it was a year later when the iconic villain, the Joker, entered the story. What began as a lighthearted pulp comic has since evolved, with Batman’s enemies growing darker and more sinister. In the film, the Joker is now less “clown prince” than violent madman, determined to wreak havoc and spread his warped view of society. Through a thematic discourse analysis, this article explores how Batman films featuring the Joker routinely naturalize and reinforce sanist beliefs about mental illness and are deployed as narrative prostheses to rationalize his heinous crimes. Blending work from both disability studies and mad studies, we explore the cultural construction of madness as animated by filmic representations of the Joker and consider how these narratives inform perceptions of mental illness and subsequently rationalize the disciplining of mad people.

Contrary to the colonial fantasy which sees the ���new world��� as the reproduction of a utopian garden of Eden, the Caribbean has often represented a sort of wasteland for its own inhabitants, and this not only because of the history of Colonialism and more recently Neo-colonialism, but also because of the enforcement of institutionalised practices like heteronormativity. Drawing on second wave Ecocriticism, particularly on Eco-phenomenology and on Queer Ecology, this paper intends to explore the way in which the contemporary Jamaican writer Thomas Glave articulates an alternative to the violence of heteronormativity in the Caribbean (specifically in Jamaica, where homosexuality is still illegal) by turning to the natural world linked to the Caribbean land- and seascape. Drawing on the aquatic imagery offered by the Caribbean Sea, both in ���Whose Caribbean?��� (2005) and in ���Jamaican, Octopus��� (2013) Glave emphasises the creative, (re)productive potential of sexual pleasure and fluidity in order to resist the discourse that does not only link queer existence and (non-reproductive sexual) practices with ���waste���, but that also ���justifies��� the violence perpetrated on queer bodies in Jamaica. The exploration of the ���queer��� figure of the octopus, for example, enables Glave to advance what I term a queer eco- phenomenology through which he finds a language that, by voicing the violence of the queer experience and the ���unspeakability��� of queer desire in the Caribbean, discloses the empowering potential for militant change., Anglistica AION: An Intersciplinary Journal, Vol 19 No 2 (2015): Wastelands: Eco-narratives in Contemporary Cultures in English

Advances in technoscience and biotechnology have blurred the boundaries between body and matter, emphasising the urgency of rethinking the intertwining of anthropocentrism, Eurocentrism and androcentrism. This repositing also involves the relationship between the subject and technological otherness. For example, in the representation of cyborgs, Donna Haraway identifies the metaphor of overcoming biological determinism. Simultaneously, in cinematic and literary imagery, cybernetic bodies end up representing contemporary society���s changes, fears and desires, exploring new paradigms of subjectivity. This paper focuses on cyborg identities in Japanese imagery through the novels Kachikujin Yapoo (Yapoo the Human Cattle, 1956) by Sh��z�� Numa, Nippon Apacchi Zoku (The Japanese Apache Tribe, 1964) by Komatsu Saky�� and the film Tetsuo (Iron Man, 1989) by director Tsukamoto Shin'ya. Each of these works presents the search for transhuman and post-human subjectivities in Japanese science fiction imagery from the post-war to the postmodern period and share a masochistic representation of male bodies deeply interwoven with the question of identity. Starting from Tatsumi Takayuki���s theorization of ��creative masochism�� and referring to the Deleuzian view on masochism, the aim of this paper is to investigate the connections between male masochism and Japanese cyborg imagery of the post-war period., Kervan. International Journal of African and Asian Studies, V. 25 N. 2 (2021): Kervan

This paper studies the critical role of the microscope in subject formation of early 1950s People’s Republic of China. The campaign against alleged germ warfare (xijun zhan 細菌戰) in 1952 politicised the action of seeing the enemy through the discourse of science. Widely used for science education and mass mobilisation for the campaign, the microscope was at once visual technology and an apparatus of power, magnifying hidden and invisible enemies that threatened the new regime. This paper argues that “seeing the enemy” was the hygienic practice of weisheng (衛生), which took on a new meaning of abjection in the early 1950s. By looking into news reports, visual materials, and science writing from this period, this paper proposes a transdisciplinary methodology for studying PRC history that brings together psychoanalysis, visual culture studies, and the history of science and technology.

This article examines the reception of French Theory within a tradition of British music journalism consolidated around key writers at the weekly music magazine New Musical Express (NME) during the post-punk period (1978–1984). The fact that complex theory had a rich reception in popular magazines aimed at wide-reaching readerships is interesting in itself for its exemplification of a kind of popular modernism. While giving an introduction to this scene of cultural translation, our article examines the specific conceptions of French Theory in this context. For Simon Reynolds, the appeal of French Theory is for its powers of intellectual inebriation. Rather than turning to theory to “explain” music, the journalists and writers I examine are interested in theory for its capacity to enhance the mythology and convey the same unruly energies of the music. They use French Theory in their writing to try and achieve the same sorts of affective intensities and disorientation normally associated with the music itself. In this sense, French Theory is also used by Reynolds as a means of critiquing British Cultural Studies where there is a tendency to read popular culture in search of points of subversion and meaning. Reynolds and other music writers, in contrast, find French Theory seductive for its capacity to reject any quest for “meaning” and “subversion”, preferring instead the disruptive implications of theorists such as Jacques Derrida, Georges Bataille and Roland Barthes. Our article interrogates the conflicting conceptions of the political and anti-political which arise from this engagement with French Theory, while also considering the implications for cultural translation. Cet article se propose d’étudier la réception de la French Theory au sein d’une tradition du journalisme musical britannique qui s’est cristallisée autour d’écrivains clés de l’hebdomadaire New Musical Express pendant la période post-punk (1978-1984). L’accueil réservé à cette théorie française complexe dans des magazines populaires est intéressant en soi comme exemple d’une sorte de modernisme populaire. Tout en offrant une introduction à cet espace de traduction culturelle, le présent article analyse les conceptions spécifiques de la French Theory dans ce contexte précis. Pour Simon Reynolds, la French Theory séduit par ses pouvoirs d’ivresse intellectuelle. Plutôt que de recourir à la théorie pour « expliquer » la musique, les journalistes et écrivains étudiés ici s’intéressent à la théorie pour sa capacité à en renforcer le mythe et à transmettre les mêmes énergies pertubatrices qu’elle. Ils s’appuient sur la French Theory dans leurs écrits pour tenter d’obtenir une intensité affective et une désorientation semblables à celles associées à la musique. Dans cette même perspective, Reynolds a également recours à la French Theory pour critiquer les études culturelles britanniques, qui ont tendance à rechercher dans la culture populaire des zones de subversion et de signification. Reynolds et d’autres critiques musicaux, au contraire, sont séduits par cette capacité qu’a la French Theory à rejeter toute quête de « sens » et de « subversion », préférant les implications déstabilisantes de penseurs tels que Jacques Derrida, Georges Bataille et Roland Barthes. Cet article interroge les conceptions contradictoires du politique découlant de ce dialogue avec la French Theory, tout en tenant compte des conséquences pour la traduction culturelle.

Salman Rushdie’s The Moor’s Last Sigh revolves around the Moor who needs to record his genealogical history inorder to survive at a madman’s castle and restore his mother’s reputation. While re-telling his family’s story thatoriginated in Granada, parallel to the history of post-independence India, the Moor makes use of his motherAurora’s magical realist paintings that combine official History with individual histories. Aurora, the oppressivemother figure, dominates the Moor’s narrative through her paintings entitled “The Moor Cycle” andmanipulates his story-telling and identity-formation process. In “The Moor Cycle” paintings, she extols the Moor’sdeformed body and associates him with the last Sultan Boabdil of Granada. Reshaping the flow of history, themother-son relationship and its dynamics are as important as the historical backdrop of the narrative. Thisparallelism between individual histories and the history of India necessitates an allegorical reading, which givesthe key role to ‘Aurora the mother.’ Rushdie’s choice of Aurora as the main source of his postmodern narrative andher haunting influence on the Moor’s identity-formation echo the Mother India myth promoted during the Indiannation-building process. The love-hate relationship between the Moor and Aurora, and its effecs on the Moor’sidentity will be analyzed by referring to Julia Kristeva’s theory of abjection. Rushdie’s association of magicalrealism with the maternal semiotic chora, his metaphorical use of the Moor’s grotesque body and the abject figures’potential of breaking the world order based on the law of the father will also be highlighted within the framework ofKristeva’s theory. Therefore, Aurora’s paintings will be read as a feminine form of history-writing that challengesthe paternal discourse that writes the official History., Salman Rushdie’nin kaleme aldığı Mağriplinin Son İç Çekişi Mağripli karakterinin, deli bir ressamın İspanya’dakikalesinde son nefesini vermeye çalışırken yazdığı hayat öyküsünü anlatır. Mağripli, hayatta kalabilmek için ailesininhikayesini kayıtlara geçmek zorundadır. Yıllar önce ihanet ettiği annesinin ressam tarafından yapılmış portresini gerialmak ve annesini ölümsüz kılmak için Hindistan’ın bağımsızlık sonrası dönemiyle iç içe geçen aile tarihini tekraryazarken, annesi Aurora’nın gerçek ve fantastik ögeleri birleştiren büyülü gerçekçi tarzında yapılmış tablolarıanlatısının ana kaynağını oluşturur. Mağripli kaleme aldığı hayat öyküsüyle ihanet ettiği annesinden özürdilemesinin tek yoludur. Baskıcı bir anne portresi çizen Aurora’nın “Mağripli Serisi” tabloları oğlunun anlatısınaegemen olurken, onun hem anlatı hem de kimlik oluşturma sürecini şekillendirir. Tarihin akışını değiştiren veyeniden anlamlandıran anne-oğul ilişkisi ve bu ilişkinin dinamikleri de romanın tarihi arka planı kadar önemlidir.Hindistan’ın resmi tarihine paralel ilerleyen kişisel anlatılar, romanın alegorik okunmasını zorunlu kılar ve bukapsamda baş rolü anne rolündeki Aurora’ya verir. Rushdie’nin Aurora’yı postmodern anlatısına ana kaynakyapması ve Aurora’nın Mağripli’nin kimlik oluşturma sürecindeki baskılayıcı etkisi Hindistan’ın ulus kurmasürecinde ön plana çıkarılan ‘Hindistan Ana’ mitini hatırlatır. Bu bağlamda, aşk-nefret düzleminde ilerleyen anneoğul ilişkisi ve bu ilişkinin Mağripli’nin kimliği üzerindeki etkisi psikanalist Julia Kristeva’nın iğrençlik teorisiyleaçıklanacaktır. Rushdie büyülü gerçekçi tabloları anne rahmiyle özdeşleştirilen semiyotik koraya atfederken,Mağripli’nin normalden iki kat hızlı yaşlanan sıradışı vücudu ve Aurora gibi ötelenmiş figürlerin baba düzeniniyıkma potansiyeli Kristeva’nın teorileri çerçevesinde incelenecektir. Bu nedenle, Aurora’nın büyülü gerçekçitabloları, babaya ait sembolik düzenin içinde yazılan tarihe bir alternatif olarak okunacaktır.

Mental illnesses often inspire artists and writers and are omnipresent in various works, yet the moral adequacy of portraying their images remained controversial: Erving Goffman (2010) had described the challenges the “discreditables” might have faced and the privileges they might get once being uncovered in his essay. However, Susan Sontag believed that wrapping disease in metaphors discouraged, silenced, and shamed patients in her Illness as Metaphor. This paper aims to center the discussion on what the diseases and the patients will represent and the privileges be demonstrated in these texts from a rhetorical aspect? By applying principally the theories of uncanny, abjection, and stigma, this paper has built a theory on presuming Meursault in Camus’s The Stranger has Asperger, then analyze the power of stigma in two recent works: the episode “ADHD Is Necessary” in Taiwanese TV drama: On Children, and a French novel: Nothing Holds Back the Night. The results showed that the mental illness can be an advantageous and necessary metaphor, just as an endowing “Mark of Cain”, threatening yet defensive. Meanwhile

In this work I seek to understand how the concept of a “legal subject” allows for the juridical marginalization of women by internalizing and reproducing gender oppression and discrimination. Through a critical and decolonial feminist perspective, I analyze the hegemonic legal discourse to understand how the Law maintains the very structures that allow for capitalist reproduction through the expropriation of women’s bodies. In doing so, I argue the Law produces legal subjects and legal abjects, which are to be understood as those excluded from juridically legible subjectivity and whose bodies are made available for exploitation by capitalism and colonialism. I then attempt to trace some possibilities for Critical Legal Theory, and especially one that is attuned with and open to Feminist and Decolonial inquiries, to develop subversive critiques that might let this legal abject speak. Neste trabalho procuro compreender como o conceito de “sujeito de direito” permite a marginalização jurídica das mulheres ao internalizar e reproduzir a opressão e a discriminação de gênero. Através de uma perspectiva feminista crítica e decolonial, analiso o discurso jurídico hegemônico para compreender como o Direito mantém as próprias estruturas que permitem a reprodução capitalista por meio da expropriação dos corpos das mulheres. Ao fazê-lo, defendo que o Direito produz sujeitos de direito e abjetos de direito, que devem ser entendidos como os excluídos da subjetividade juridicamente legível e cujos corpos são colocados à disposição do capitalismo e do colonialismo para serem explorados. Em seguida, tento traçar algumas possibilidades para a Teoria Jurídica Crítica, especialmente uma que esteja em sintonia e aberta às investigações feministas e decoloniais, para desenvolver críticas subversivas que possam deixar esse abjeto jurídico falar.

In this paper I examine and analyze the moral language surrounding food and eating in contemporary diet culture. I look to three dieting subcultures - 'thinspiration' (or 'thinspo', the idolization of extreme thinness), 'fitspiration' ('fitspo', the idolization of 'fit, toned' bodies) and contemporary 'wellness' culture. I argue that the vocabularies of these three subcultures are on a continuum, in that their moralizing messages reflect and embody the same gendered and racialized social prohibitions, taboos, and normativity around food, eating, and bodies. All three dieting subcultures reflect and reproduce cultural fatphobia - the social and material discrimination against fat people, and the gendered and racialized ideology in which fat bodies are seen as threatening and cast as socially abject. I argue that thinspo, fitspo, and wellness subcultures emerge as spaces which recognize fat abjectness and provide their members with different strategies for managing or mitigating the social 'danger' of food and the risk of becoming fat and socially abject. I also argue that the different moral vocabularies these subcultures use to discuss food and eating reflect these different strategies. Arguing that these three vocabularies are on a continuum with regards to the bodily and behavioral normativity they transmit is significant because while thinspo is popularly regarded as extreme and damaging, and while there is some popular critique of fitspo, mainstream ‘wellness’ culture receives much less popular critical scrutiny and is presently socially normalized. Seeing these rhetorics on a continuum enables us to see how the same social prohibitions and taboos against fatness (particularly against women's fatness) are just as operative in mainstream society as they are in ‘fringe’ spaces recognized as harmful.

Partant du postulat que l’écriture de l’abjection produit chez le lecteur un vertige, voire un choc, tout à fait particulier, notre article s’intéresse à la façon dont celle-ci constitue dans les romans La Vie de Joséphin le fou d’Ananda Devi (2003) et Za de Raharimanana (2008) une formidable puissance de remise en question des normes et des limites qui fondent ce qu’on peut appeler avec Julia Kristeva « l’ordre social et symbolique ». Il s'agit en d'autres termes d’explorer la puissance propre à l’abjection qui permet au récit de dépasser à la fois la simple satire socio-politique et la jubilation de l’obscène, au profit de représentations plus ambivalentes, mouvantes et dérangeantes, qui touchent aux fondements mêmes de notre humanité. Nous nous efforcerons ainsi de dépasser la sidération dans laquelle plonge la violence parfois difficilement soutenable de l’écriture pour envisager la façon dont l’abject, la pourriture et le grouillant apparaissent en creux comme le terreau fertile d’un contre-pouvoir sur les plans aussi bien éthique qu’esthétique. Parce que ces bas-fonds abjects sont aussi le lieu d’une vie proliférante, multiple et anarchique, la parole qui s’y ancre et s’en revendique peut en effet être comprise comme une poche de résistance face à la menace de la tyrannie de l’Un, du vide et de la pétrification qui caractérisent le pouvoir postcolonial.

Avhandlingen analyserar Thomas Hardys romaner med syfte att utröna varför de oftast väcker en känsla av ambivalens i läsaren. Med utgångspunkt ifrån Julia Kristevas teori om det semiotiska, enligt vilken intertextualitet uppstår genom en transposition av diskurser som har sin grund i primärprocesserna, åskådliggör avhandlingen hur intertextualiteten i Hardys berättarteknik bidrar till att skapa ambivalens. Intertextualiteten i Hardys fiktion utforskas här som härledande av de idéer Hardy tycks ha fängslats av under sina studier då man finner dem i hans anteckningar. Tesen vidgar diskussionen om Kristevas teori om intertextualitet i samband med Hardys fiktion genom att inkludera Jacques Lacans teori om driftprocessens dynamik och lusten. Genom att uppmärksamma en korrespondens mellan idéer i Hardys romaner och de grundläggande principerna i Kristevas och Lacans teorier, används Kristevas dynamiska syn på intertextualitet som process, ett frånstötande (abjektion) för att förklara denna korrespondens av idéer. Då Kristevas föreställning om intertextualitet anknyter till hennes syn på subjektets process, stödjer tesen hennes dynamiska syn på betydelseprocessen. Således pekas intertextuella knutpunkter ut som bevis på frånstötningsprocessen som skapar textambivalens. Avhandlingen använder sig av Roland Barthes fria associationsteknik för att få fram den flerlagrade dimensionen av Hardys text. Den fria associationstekniken avgränsas däremot till att tolka undertexten som återför till Hardys anteckningar men även till hans innersta väsen, i den bemärkelse att tesen stödjer synen på subjektets process. Även om avhandlingen i huvudsak är psykoanalytisk är den inte det i strängt freudiansk bemärkelse. Med hänvisning till Hardys motstånd till Realismen till förmån för ”inspirerad Konst” stödjer tesen synen på Hardy som konstnärligt lagd genom att lyfta fram indicier som tyder på Jagets frånstötningsprocess i Hardys romaner. Avhandlingen tolkar således Thomas Hardys romaner utefter de olika sätt den dynamiska betydelseprocessen tar sig uttryck för att skapa skiftande innebörder.

The book review reveals the issue of modernity from James Ferguson’s Expectation of Modernity: Myths and Meanings of Urban Life on the Zambian Copperbelt which is dismantling and heart-breaking. This well-written and thick seven chapters book is based on Ferguson’s ethnographic fieldwork in Copperbelt, Zambia, between 1970s-1990s. The book introduced what is called the ethnography of decline, a way of understanding people’s point of view about their own experience of social, cultural, and economic ‘advance’ and ‘decline’. A very hard task for ethnographers since they must deal with the situation instead of working with people. Related to that, Ferguson also explores a concept called ‘abjection’, a process of being thrown (down) aside, expelled or discarded. Using this concept, he claims that modernity is quite similar to colonialism which brings the dichotomy of ‘the west’ and ‘the rest’ where the west is ‘modern’ and the rest is ‘savage’. Thus, globalization of economy brought by modernization has been experienced as abjection and disconnection, leading to a conclusion that modernity is no more than a myth that would never exist.

Angela Carter and Ghazaleh Alizadeh as the prophetesses of postmodern fairy tales in British and Persian literature re-narrativize these tales as a loophole from socio-political stagnation and cultural paralysis. Evading direct contact with the political jargons of their eras, they seek gender generativity via the fairy tale machine. Alizadeh finds refuge in modernizing Persian fairy tales. Carter chants her frustration at Thatcherism through gender subversion. Carter’s and Alizadeh’s revulsion at the politics of gender in their eras can be read via the duet between the abject and the chora in Kristeva’s thought. It is through the encounter with the external abject that the internal abject is activated culminating in the efflorescence of the chora. The liminality of the chora becomes the battleground on which poetics of gender beats off politics of logos through subversion and syncretism. While Carter obtains abjection through overt sexualization of fairy tales, Alizadeh resorts to indirection due to the political climate of her time. Unlike Carter who is quite outspoken about her fairy tale project, Alizadeh is reticent, allusive, and somber trying to remind her readers of the gloomy reality that being a woman in the Middle Eastern countries is always already punctuated with docility.

Türk Yeraltı şiirinin travmatik, Beatnik-Marjinal şairi küçük İskender’in (1964-2019) alt kültürün egemenliğini anlatan “Berlin” adlı şiiri, Bu Defa Çok Fena (2011) adlı şiir kitabında yer alır. “Küçük” sıfatının küçük /k/ ile başlamasını isteyen şair, herkesin kendisini büyük gördüğü yazın dünyasında kendini küçük harflerle ifade etmeyi seçer. Küçük İskender’in psikolojik travmalarından doğan imgeleri ve iğrençlik eksenindeki gotik ve grotesk estetiği “Berlin” adlı postmodern şiirinde yinelenen ikonografik birer motiftir. Şair, Amerika’daki Beat kuşağından etkilenerek menşei Beyoğlu olan Beatnik-Marjinal “Berlin” şiirinde bir tabu olarak görülen duvarının yıkıldığı Berlin şehriyle Freud’un “özdeşleşme” kavramı çerçevesinde imgeler kurgular. Bu çalışmada “Berlin” şiiri Romantik edebiyatın “yüce”, Freud’un “tekinsiz”, Kristeva’nın “iğrenç” ve Bataille’ın “biçimsiz” kavramları başta olmak üzere çeşitli görüşler etrafında gelişen iğrençlik, gotik ve grotesk estetik bağlamında incelenecektir. The poem “Berlin”, which tells about the dominance of subculture, by the traumatic, Beatnik-Marginal poet of Turkish Underground poetry, küçük İskender (1964-2019), is included in his poetry book Bu Defa Çok Fena (2011). The poet, who wants the adjective “small” to start with small /k/ in Turkish, chooses to express himself with lowercase letters in the literary world where everyone considers himself capitalized. Images of küçük İskender born from his psychological traumas and his gothic and grotesque aesthetics on the axis of disgusting are iconographic motifs repeated in the postmodern poem “Berlin”. In the Beatnik-Marginal poem “Berlin”, whose origin is Beyoğlu, influenced by the Beat generation in America, the poet fictionalizes images within the framework of Freud’s concept of “identification” with the city of Berlin, whose wall is seen as a taboo. In this study, “Berlin” poetry will be examined in the context of disgusting, gothic and grotesque aesthetics that developed around various views, especially the concepts of Romantic literature, Freud’s “uncanny”, Kristeva’s “disgusting” and Bataille’s “formless”.

This study employs psychoanalytical theories to explore how the conscious, unconscious, and subconscious workings of the mind, combined with a search for identity, are presented and dealt with in Toni Morrison’s novel Beloved (1987). It is done through a close reading and in-depth textual analysis of thematic concerns raised in the work. Previous research has primarily relied on some specific aspects of psychoanalytic theory and applied it to Beloved. The theoretical framework provides a rationale for this paper to research two events in particular that highlight the mother-daughter relationships between Sethe and her Ma’am and between Sethe and her daughter Beloved. These relationships are consequently analyzed by employing psychoanalytical concepts offered by Freud, Lacan and Kristeva. By utilizing psychoanalytical criticism, the characters’ conscious and unconscious motives and feelings are revealed and explained, as well as the meanings and the undercurrents that lie underneath the text’s consciousness. The results suggest that Sethe murdered her daughter Beloved to keep her from becoming a slave and enduring the dreadful and traumatic consequences of slavery, which was similar to what Sethe went through when she was abandoned by her Ma'am. Sethe’s childhood psychological principles and trauma shaped her identity as a mother as she witnessed her mother abandoning her at a young age by being tortured and killed. The events around Sethe’s mother’s death and the fact that Sethe never identifies her mother’s dead body, scar Sethe for life and instill in Sethe a sense of “lack” and an abnormal feeling of maternal love where she is ready to kill her children to save them from the horror of slavery.

Actualmente, alejados de aquellos tiempos de guerra entre el cine y la televisión de masas e inmersos en una cultura de las series cada vez más accesibles gracias a las plataformas streaming, las series empiezan a ser reconocidas como obras de arte que critican a las altas esferas de poder, signo propio de la tercera edad dorada de las series, y donde reside la verdadera originalidad audiovisual a ojos de las grandes audiencias en detrimento de un cine que parece cada vez más estancado o carente de interés. En plena revolución del panorama industrial del audiovisual, caracterizado por el éxito de las plataformas streaming, aparece un consumidor cada vez más democratizado, heterogéneo y cercano a la visión de “consumidor” más que de “espectador”. Adicionalmente, el audiovisual de masas recupera una visión perversa, hiperrealista, denunciativa y moralista que retrotrae al cine de la crueldad enunciado por André Bazin. Por todo ello, se diagnostica el fenómeno de la pornografía del horror, la estetización o la abyección cinematográfica, ya debatida por Jackes Rivette y Serge Daney en la segunda mitad del siglo XX, con el objeto de unir lo depresivo con el espectáculo en series actuales. Por todo ello, se ha procedido a la realización de un estudio de casos, mediante un análisis de carácter exploratorio y descriptivo, de las series Years and years y Chernobyl a fin de diagnosticar la presencia de una narrativa de prestigio en las plataformas streaming que cumplen como abyectas bajo el simulacro de lo denunciativo. Today, far from those times of war between film and mass televisión and immersed in a culture of series that is increasingly accessible thanks to streaming platforms, series are beginning to be recognized as works of art that criticize the upper echelons of power, own sign of the third golden age of the series, and where true audiovisual originality resides in the eyes of large audiences to the detriment of a cinema that seems to be increasingly stagnant or uninteresting .In the middle of the revolution of the industrial panorama of the mainstream audiovisual, characterized by the presence of streaming platforms, increasingly democratized, varied, accessible, and close to the vision of «consumer» rather than «spectator», the mass audiovisual recover a cruel, hyper-realistic, denunciative and moralistic vision that goes back to the cinema of cruelty enunciated by André Bazin. However, the presence of horror pornography, a estheticization, abyection and the eroticism of cruelty, already debated by Jackes Rivette and Serge Daney in the second half of the 20th century, is perceived to combine the depressive with the playful in the eyes of spectators who are hungrier for perversity and cathartic plots. For all these reasons, a case study has been carried out, through an exploratory and descriptive descriptive analysis, of the series Years and years and Chernobyl in order to diagnose the presence of a prestigious narrative in the streaming platforms that comply as abject under the simulacrum of denunciation.

El itinerario fotográfico de Lariza Hatrick se encuentra poblado de identidades sexo-disidentes. Sin embargo, la artista argentina poco se preocupa por visibilizar, reivindicar y solicitar reconocimiento para aquellas identidades que retrata. Lejos de poner su producción artística a servicio de una política de identidad preocupada por alcanzar el reconocimiento de la heteronorma, Hatrick captura composiciones visuales que nos enfrentan con aquello que desborda todo borde identitario y sistema taxonómico clasificatorio. Sus imágenes figuran la presencia de lo abyecto y de la negatividad radical con la cual tropieza todo orden simbólico. Su estética pesimista se interesa por el derrumbe, el estropicio y el fracaso que envuelve a toda existencia. Allí detecta una oportunidad para interrumpir el orden político imperante y sus violencias. En esta oportunidad ofrecemos algunas fotografías de objetos dañados y desechados. Las resonancias inefables y perturbadoras que allí circulan son interpretadas a partir del pensamiento de Julia Kristeva. Lariza Hatrick's photographic itinerary is filled with dissident sexual identities. However, the Argentinian artist shows little concern in visibilizing, reclaiming and demanding recognition for the identities she portrays. Far from putting her artistic production at the disposal of a politics of identity aiming to attain the recognition of the heterosexual norm, Hatrick captures visual compositions that confront us with everything that overflows identitary borders and classifying taxonomic systems. Her images picture the presence of abjection and the radical negativity that every symbolic order tumbles over. Her pessimist aesthetic is interested in the collapse, wreckage and failure that surrounds existence. There, she spots an opportunity to interrupt the ruling political order and its violence. In this occasion, we offer pictures of damaged and disposed objects. The ineffable, disturbing reverberations flowing there are interpreted in the light of Julia Kristeva's contributions. Fil: Martínez, Ariel. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación. Instituto de Investigaciones en Humanidades y Ciencias Sociales (UNLP-CONICET); Argentina.

A distinctive theme of Gothic narratives is the abject. A character that is abject threatens to disrupt boundaries, both personal and societal. As such, the abject character must be rejected or destroyed by society. In this study, I propose that the visual metaphor of Close-Up Eye Asymmetry (CUE-A) communicates the concept of the abject in Gothic narratives. I then investigate this proposal by comparing how often CUE-A is used when depicting Batman compared to Superman in comic books. Overall, I provide evidence that: (1) Batman is more Gothic than Superman, (2) Batman is more abject than Superman, and (3) Batman is depicted with CUE-A more often than Superman. Taken together, this shows that CUE-A co-occurs with the concept of the abject in Gothic narratives, supporting the idea that the CUE-A visual metaphor does, in fact, communicate the abject in Gothic narratives.

El presente artículo se propone reflexionar en torno a aquella franja poblacional abyecta e ininteligible a partir de algunas expresiones del itinerario fotográfico de la artista y activista argentina (platense) Lariza Hatrick. Aunque sus retratos plasman momentos cotidianos de existencias maricas, lesbianas y travestis, afirmamos que lo relevante de su producción visual refiere a la posibilidad de suscitar una alteridad radical que trasciende las nominaciones identitarias que las taxonomías modernas ofrecen como única forma de distribuir reconocimiento. Al reseñar algunas fotografías de Shirley Bombón (trava sudaca) se enfatiza la necesidad de transversalizar la perspectiva queer con una dimensión cuir: un intento de rescatar la dimensión crítica más allá del límite que impone la positividad de los significados lingüísticos. Se afirma que las producciones artísticas son capaces de sugerir la potencia de aquello inarticulable, zona indispensable para la actitud de revuelta y para la creación de lo radicalmente nuevo. This article aims to reflect on that abject and unintelligible population strip based on some expressions of the photographic itinerary of the Argentine artist and activist (from La Plata) Lariza Hatrick. Although her portraits capture daily moments of queer, lesbian and transves-tite existence, we affirm that the relevance of her visual production refers to the possibility of arousing a radical alterity that transcends the identity nominations that modern taxonomies offer as the only way to distribute recognition. By reviewing some photographs by Shirley Bombón (trava sudaca) it emphasizes the need to mainstream the queer perspective with a cuir dimension: an attempt to rescue the critical dimension beyond the limit imposed by the positivity of linguistic meanings. It is affirmed that artistic productions are capable of suggesting the power of the inarticulable, an indispensable area for the attitude of revolt and for the creation of the radically new. Fil: Martínez, Ariel. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación. Instituto de Investigaciones en Humanidades y Ciencias Sociales (UNLP-CONICET); Argentina.

Las actrices Shelley Duvall —como Millie— y Sissy Spacek —como Pinky— intervienen con su actuación en la reflexión feminista final del film 3 Women (Robert Altman, 1977). Mediante la metodología de los star studies, este artículo analiza su interpretación para comprobar cómo construyen unos personajes que toman conciencia de su abyección social, con una crítica explícita a la sociedad patriarcal. Analizamos también cómo estos personajes concretos se ponen en relación con la star image y la star persona de las actrices. La abyección ligada al terror define sus carreras: Spacek lo encarna un año antes en Carrie (Brian de Palma, 1976), papel que la lleva a la fama y al reconocimiento internacional; Duvall lo desarrolla hasta su máximo esplendor en El resplandor (The shining, Stanley Kubrick, 1980), definiendo este concepto su imagen pública. Asimismo, estudiamos el distinto control y autonomía que ambas han experimentado sobre esta imagen creada en su obra y en los medios. Les actrius Shelley Duvall —en el paper de Millie— i Sissy Spacek —en el paper de Pinky— intervenen amb la seva actuació en la reflexió feminista final del film 3 Women (Robert Altman, 1977). Mitjançant la metodologia dels star studies, aquest article analitza la seva interpretació per comprovar com construeixen uns personatges que prenen consciència de la seva abjecció social, amb una crítica explícita a la societat patriarcal. Analitzem també com aquests personatges concrets es posen en relació amb la star image i la star persona de les actrius. L’abjecció lligada al terror defineix les seves carreres: Spacek ho encarna un any abans a Carrie (Brian de Palma, 1976), paper que la porta a la fama i al reconeixement internacional; Duvall ho desenvolupa al màxim a The shining (Stanley Kubrick, 1980), de manera que aquest concepte defineix la seva imatge pública. Així mateix, estudiem el diferent control i autonomia que totes dues han experimentat sobre aquesta imatge creada en la seva obra i als mitjans. The actresses Shelley Duvall – as Millie – and Sissy Spacek – as Pinky – contribute with their acting to the concluding feminist reflection of the film 3 Women (Robert Altman, 1977). Using the star studies’ methodology, this paper analyzes the acting of these actresses to determine how they build characters who become aware of their social abjection, with an explicit criticism of patriarchal society. We also analyze how these specific characters relate to the star image and the star persona of these actresses. Abjection linked to terror defines their careers: Spacek embodied this a year earlier in Carrie (Brian De Palma, 1976), a film that would win her fame and international recognition, while Duvall would carry it to its highest level in The Shining (Stanley Kubrick, 1980), after which her public image came to be defined by this concept. Likewise, we study the different character of the control and autonomy that these two actresses have experienced with respect to this image created in their work and in the media.

L���informe a fascin�� les artistes de la Renaissance (de L��onard de Vinci �� Pontormo, de Rabelais �� Th��r��se d���Avila et Montaigne) et du xxe si��cle, o�� Georges Bataille met la notion au c��ur de sa pens��e esth��tique. Ce sont les enjeux de cette fascination et de cette r��surgence que ce livre s���efforce de penser., The formless has fascinated artists in the Renaissance (from Leonardo da Vinci to Pontorno, Rabelais, Teresa of ��vila, and Montaigne) and in the twentieth century, when Georges Bataille enshrined the notion of the informe at the center of his aesthetic thought. This book tries to think through the stakes entailed by this fascination and its resurgence.